I have the feeling my NuVista Vinyl (MkI) combines the best of both worlds. Gain is handled by FETs, but the triode nuvistors are used in Class A for the output. It sounds like it has a solid state level of detail, but without the sterility of my last solid state phono stage (Ray Samuels Emmeline XR-10B).
Two Paths to Musical Truth: The Case for Both Solid-State and Tube Phono Stages
One argument could be - the best of both worlds. Over time, I’ve come to appreciate the virtues of having both a solid-state and a tube phono stage in my system. Each brings something unique to the table, and depending on mood or music genre, I find myself switching between the two more often than I’d like to admit.
In my experience, a solid-state phono stage excels in speed, grip, slam, and neutrality. It reveals microdynamics with precision, keeps a low noise floor, and stays composed even in the most complex passages. It’s the straightest path to transparency, hearing deep into the groove without any added flavor.
A tube phono stage, on the other hand, brings that organic flow and dimensionality that’s hard to replicate. It breathes life into vocals and acoustic instruments, adding air, texture, and emotional weight. A well designed tube phono sounds utterly natural without losing detail not to mention tube rolling can be both fun and ridiculously expensive… lol!
IMHO, having both isn’t redundancy; it’s about flexibility and adding another dimension to pure enjoyment of spinning vinyl. For me, it’s not about which one is “better,” but rather what serves the music best in that moment.
I’m feeding both phono stages into an Accuphase Class A integrated, which is exemplary at revealing the unique strengths of each topology.
I am curious if anyone else here alternate between solid state and tube phono stage?
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The simple response is that I do not switch between valve and solid state designs. I have never warmed up (pun intended) to the sound of valves). Within the two general paths to musical truth (valve designs and solid state designs) there are a myriad of other design considerations that impact the truth which are subject of a separate dissertation. Staying within the two path proposition, I have seen contemporary valve and solid state designs narrow differences in sound quality between them. Contemporary solid state electronics now have removed treble distortion (sibilants and harshness) and are approaching valve imaging and ambient retrieval. Valve electronics now have fast, controlled bass and higher damping factors to control speaker drivers better. The treble is not as attenuated as in the past. Distortion is now lower but not to the level of better solid state designs. However, I am sensitive to the secondary harmonic distortion and lower damping factors, exacerbated by the fact I have always had low efficiency speakers presenting difficult loads. To me, the difference is like the quality of a photograph taken with a Leica or Hasselblad vs a Nikon or Cannon camera where the detail, clarity, contrast, and color density of the former is far superior to the distortions in the latter, regardless of the midrange bloom and superior imaging valves provide. Therefore, I have never gone down the valve design path. Recognize this is only my opinion and in my comparison I am speaking of better contemporary solid state and valve designs. There is no right or wrong. Many whose posts and ears I respect have valve based systems. |
I use both, as I find they do different things well. Tubes still float my boat in the critical music range. Your description summed it up well. I use solid state amps on my woofers for bass below 65hz....they definitely offer more control, better dynamics, and more low frequency extension than my smallish tube amps, but there are always a ton of variables in play, plus synergy and personal preference. I find that relieving the tubes of low bass duty enhances their clarity and timbre. |
@jsalerno277 - why do so many professional photographers use Nikon and Canon gear? Are they just too cheap to go for far superior/expensive Leica and Hasselblad gear? I've been a photographer since the 1960's, and I sure couldn't tell you the difference in cameras by looking at a photo, but that's just me, so just wondering. |
@freediver Please read my prior post as to why you might be experiencing ticks and pops that have nothing to do with the actual LP.
@jsalerno277 If you’ve experienced this its likely not for the reason you think. Tube amps have had high frequency bandwidth well past 20KHz going back to the 1950s (the HK Citation 2 had bandwidth well past 50KHz). But one thing tubes do is they mask their higher ordered harmonic distortion very well and as a result seem to have less high frequency energy than most solid state amps (especially legacy products). You can demonstrate this easily by putting a good legacy tube amp (such as a Dynaco ST70) on the bench test equipment and compare its power output at 15KHz with that of a solid state amp. You’ll see they are both flat. Obviously the seemingly audible difference in high frequency energy isn’t due to a frequency response error. Its due to the different way they both make distortion. However this is a conversation about tube/solid state phono sections, not power amps.
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